The purpose of this study is to present that deviant style is the fundamental element of the literariness in a literary text and the deviant devices of a source text should be reflected in a target text in literary translation. For this, first the connectedness of deviant style, literariness, and literary translation is explored based on cognitive poetics (chapter 3). Second, the source texts of Hwang Sunwon''s short stories, "Beol", "Hak" and "Sonaki", and two kinds of the target texts are compared and analyzed focused on deviant style and lyrical effects with a cognitive poetic approach (chapter 4).
Cognitive poetics, or literary cognitive stylistics, studies the literariness that makes a literary text literature through universal style devices across language and culture. It combines existing stylistics with cognitive models, and studies both textual linguistic form and a reader''s cognitive responses. In other words, it explores the relationship of an author ― a literary text ― a reader through linguistic form, or style. That''s why cognitive poetics helps literary translators to translate specific literary features of a source text, for a translator is a reader and an author at the same time.
Frameworks for the exploration and analysis are foregrounding, schema, and text world and cognitive deixis among models of cognitive poetics. Foregrounding refers to being salient or calling attention and interest of readers. This can be achieved by linguistic deviances against backgrounding the norms of ordinary language. Deviant devices arouses defamiliarization, emotion, and feeling in readers, and they are important elements in the originality or literariness of a literary text, especially a lyric work. Schema refers to cognitive space, or mental space, and is related to macro deviance: linguistic and structural deviance causes cognitive change and creates literariness, which is called discourse deviance. But cognitive change or expansion can be formed through non-literary texts. So text world and cognitive deixis models are needed for literary essence. Text world is about how readers understand a fictional story, and cognitive deixis is about how they feel they are in the middle of the story.
The first target texts (TT1s) are translated by Korean translators, or outbound translators, who translate their native language into foreign language, and the second target texts (TT2s) by English native translators, or inbound translators who translate foreign language into their native language. These texts are analyzed focused on the author''s deviant features, and lyric effects with a cognitive poetic approach. Lyricism that expresses personal and subjective emotion and feelings is linked to six levels of deviance in the author''s texts: paragraph, sentence, repetition, tense and discourse, and deixis. The long paragraphs are used for episodes and flash backs, and single-sentence paragraphs for poetic effects; fractured-off or ecliptical fragments for rhythm, imagination and brevity; repeated expression and ellipsis (…) for intense emotion emphasis, interpretation space; historical present tense for vivid and lively narration and emotional effects; free direct or indirect discourses for empathy, ambiguity, and internal monologue of a character; deixis such as this, here and now for changing a narrator’s perspective into a character’s.
According to these levels as a result of comparing analysis of STs and TTs, TT1 and TT2 of "Beol" reflect 16 and 18 percent of the style devices of ST, respectively. TT1 and TT2 of "Hak" reflect 46 and 83 percent. TT1 and TT2 of "Sonaki" reflect 21 and 46 percent. TT2 of "Hak" is the highest in the reflection rate of style devices. It is presumed that the translator usually translates poems and is sensitive to form, or style. Compared outbound with inbound translators, the latter reflects more deviant devices of STs into TTs. It is assumed that outbound translators try to accomplish standardization and normalization with being concerned about avoiding awkwardness or ungrammaticality. However, the translationese is different from deviance, which violates language norms. Each of the deviant features provides esthetic effects cognitive effects, and forms the creativity and literariness of the texts.
The standardization and normalization in translation has problems in terms of interpretation of meaning of STs since style is meaning; diverse interpretation of readers since interpretation in literary text is completed by readers; value as a literature since deviant features will contribute to lyricism which embodies thoughts, feeling and emotions; the status of translators since loss of micro-initiative such as reflecting the style of an author can lead to that of macro-initiative.
Therefore, the deviant devices should be translated in a target text in order to sustain the literary essence of a source text or an author, especially in terms of maximal relevance. This is because each of the devices is organically connected, so if one device is not translated, the stylistic effects of other devices are reduced. Literary translators should perceive the deviant style and esthetic and cognitive effects in a source text as readers and reflect equivalent or similar pragmatic effects in a target text as writers. Then and only then, target readers get into fictional and imaginary story, experience new things and enjoy cognitive change or expansion through translated texts.